Well, that was an experience. I went ahead and followed my instinct to download George du Maurier’s novel Trilby, based on my weird fascination with the old John Barrymore movie, “Svengali.” I wasn’t prepared for the degree to which the book would grab me. It was one of those “hard to put it down” reading experiences.
My shame is great at being taken in like this by a Victorian bestseller, and not even a mystery or an adventure tale! A love melodrama, of all things.
Most oddly of all, though Trilby fascinated me, I can’t really recommend it to our readers. I have several objections to the thing.
As you may (or may not) be aware, Trilby is a story mostly about the lives of artists in Paris’ Latin Quarter in the 1850s. This novel’s extreme popularity established that time and place forever in the public mind as a colorful, freethinking milieu. Three British painters – the big war veteran Taffy, the jolly Laird, and the young, innocent Little Billee, share an atelier. There they meet a charming young woman, Trilby O’Ferrall, who is of Irish/Scottish parentage but has spent all her life in Paris. She works as an artist’s model and a washer woman. She’s beautiful, unaffected, uninhibited, and charming. They all fall in love with her to some extent, but Little Billee does most of all. However, he can’t handle the fact that she does nude modeling (“for the altogether,” as she puts it. This is where our phrase “in the altogether” originates), and is not chaste. In spite of his religious freethinking (much is made of that), he’s basically an upper middle-class boy.
Another member of their circle, though generally unwelcome, is Svengali, a Polish Jew and a brilliant musician. Svengali can play any instrument beautifully, except for his own voice. When he hears Trilby’s voice, he’s intrigued, but he soon learns that, though the sound itself is magnificent, she is utterly tone-deaf.
Eventually Billee overcomes his scruples and proposes marriage to Trilby. She agrees reluctantly. Although she reciprocates his love, she understands their social differences would doom their marriage. Soon after, Billee’s mother and sister come to visit, and his mother has a talk with Trilby, who agrees to break the engagement and disappears. Billee then suffers a breakdown which marks the end of his time in Paris. But his talent has now been recognized, and when he recovers, back in England, he is a famous and sought-after man.
Five years later, he, Taffy, and the Laird have a reunion in Paris. They’re surprised to learn that their old acquaintance Svengali is now the talk of Europe. He is famous as the manager of his beautiful wife, “la Svengali,” said to have the most ravishing voice in the world. The trio get tickets to her concert, and are almost – not quite – certain that la Svengali is in fact their old friend Trilby, whom they’d thought dead. When by chance they encounter the Svengali carriage on the street, both their old acquaintances pretend not to know them.
From there it all rolls on to a tragic conclusion, more drawn-out than in the film.
I said, in discussing the movie, that the cinematic Trilby reminds me of a girl I once cared about. It disturbed me, as I read, that Trilby in the book was even more like the girl I knew than the actress (though my girl did not share Trilby’s sexual mores). On top of that, elements in the story took me back to my college days. I think it was a feeling that, in some ways, I was reading about my own life that gripped me as I read Trilby.
But you, Kind Reader, never knew that girl. And you (probably) weren’t there when I was in college. So I have no reason to think you’d react to this book as I did.
For one thing, it’s Victorian literature – that is to say, overwritten. Du Maurier isn’t a horrible over-writer like so many Victorians; often he can be amusing in his frequent digressions. (By the way, there’s a lot of French dialogue in this book, so it helps if you have decent French. Which I don’t). But he does take his time telling the story. This isn’t just a narrative; it’s sort of a leisurely travelogue.
But my main objections are moral and theological. This was a somewhat scandalous book in its time – “Read about all the naughty things they get up to in Paris!” Trilby isn’t a virgin for much the same reason that a girl in the South Sea islands wouldn’t be a virgin. It’s alien to her culture. Du Maurier may have been challenging Victorian sexual mores here, but he keeps it oblique.
Much worse is the antisemitism. A lot has been written over the years about Svengali as a Jewish stereotype. Which he certainly is. He’s arrogant, selfish, grasping, and filthy (an odd accusation to make against any Jew, when you think about it). The passages concerning Svengali are frankly horrifying. However, fortunately, Svengali isn’t in the book as much as in the movie.
It should also be noted that there are several Jewish characters in Trilby, and the others are rather nice.
Even worse, from my perspective, are the theological digressions. The author takes several opportunities to have his characters contemplate – or discover – the complete absurdity of Christian doctrine. Everyone who thinks about it (in this book) soon agrees that the Judeo-Christian God is ridiculous and there is no Hell to fear. Either everyone is saved or everyone just goes to sleep. Nothing to worry about, as long as you do good.
So I don’t really know what to tell you about Trilby. It might fascinate you as it fascinated me. Very likely it won’t. If you do read it, you’ll have to wade through some nasty spots, but there are also many rewards.